12 Film Set Terms Every Actor Needs to Know

You just landed a role in a film—congratulations! If you’ve only ever acted on a stage, know that film sets are very different from the theater, and your first few days on set may be intimidating. Between all the people, equipment, and terminology on a film set, it’s easy to get overwhelmed but if you know a few basics, you’ll already have a leg up.

Last month, I spoke about different crew positions you should be aware of and today, we’re going to talk phrases and lingo you’re likely to hear during filming. Be familiar with them before you step on set and you’ll be more confident when you do land that film role. 

Action: This is the director’s cue for the actors and/or acting to begin. As an actor, you must be ready at all times—no checking your phone or goofing around. It’s important to be prepared so that when you hear “action,” you’re ready to act. 

Call time: The time you must be on set or location and ready to work. Call times are generally not given until the night before. Check your email and phone regularly to ensure you read all communications from set. If you’re late or miss a call, you may have lost your chance to work with the director again. 

Cheat: You may hear, “We’re going to cheat you in a little for this shot.” A cheat is a special shot where angles are used to get interesting shots of people or objects. If you’re in a cheated shot, you’ll be asked to move off to one side to get the required shot. Someone will instruct you where to stand.

Cut: This signifies the end of a take and a call to stop the action. It’s crucial for the actor to keep the acting and action going until the director calls “cut” or they risk messing up a great shot. It is never up to the actor to stop what they’re doing without the “cut” call from the director. This is also true in auditioning. I’ve seen many actors cut a scene prematurely because they flubbed a line or weren’t happy with what they were doing and in the process, they waste a great take.

Dirtying the frame: A director has many choices for how a scene is shot. If you hear “dirty shot,” it means there is some physical intrusion like a body part of another actor to give a sense of distance between two actors. It may also be used to create a power differential between actors. If a dirty shot is called, you may need to cheat your height a bit to get the correct angle in the shot. 

Key light: A light trained on you. An actor should always know the location of their key light so they can play to it. You may have a wonderful acting moment and be in the wrong position but a simple adjustment can make everyone happy and ensure you have a great shot.

READ: 9 Tips for Your First Time on Set

Lenses: If you hear the director of photography or director talking about lenses, they’re talking about the width of the shot. Some lens shoot wide angles and they have a low number. A higher numbered lens is for closeup work. The most common lenses used for shots are 14-35mm wide/medium, 50-65mm medium, and 85-135mm closeup.

Pick up: Re-filming part of a scene from a specific point in the action where only part of a take is done again with dialogue or action. A pick up may be used to correct a mistake or film additional material. For the actor, this means listening attentively and being ready for an action called. 

Quiet on set: Complete silence. Any movement or sound can spoil the shot, and that can be costly. You don’t want to be the one responsible for ruining a great shot by making noise. 

Rolling: Action is about to begin as the cameras (and/or sound) are rolling to film a take. It’s also another signal to pay close attention and be quiet. 

Standby: When you hear these words, it means to hold your position for a temporary delay and be prepared for rolling. You must be emotionally ready at all times so you can step into your character’s shoes. Standing by or holding means you will pause, stay in character, and be ready to continue when action is called again. 

Wrap: The director is satisfied with the work and the shoot is finished. 

Filming involves hundreds of moving parts and people. Long hours are required. Each new take translates to more costs. Knowing film lingo will help you play your part in helping the production run smoothly. You will look and feel like a real professional on the set when you have an understanding of what’s going on, are well prepared, and listen carefully to direction. Your professionalism will make you an actor who directors want to work with.

A Director Offers Tips on Helping Your Child Actor Find Success

Did you know that your behavior influences your child actor’s opportunities?

In my more than 30 years of teaching, coaching, and directing child and teen actors, I’ve seen parents who unknowingly sabotage their child’s ability to get parts. Those parents weren’t intentionally harming their child’s career. They just lacked insider information about what directors and casting directors are looking for when they screen young actors.

My long-time colleague Matt Lenz is a theater director based in New York who has worked with child actors on Broadway, in touring productions, and in regional theater. Most notably, Matt directed the national tour of “A Christmas Story.” He has also worked on “Billy Elliot,” “Hairspray,” “Beauty and the Beast,” and “The Sound of Music,” all shows with multiple child and teen cast members. I spoke with Matt recently and asked him to give me the scoop on what he looks for in child actors and their parents.

Matt and I both agree that working with young actors is different than working with adults. “I can’t believe how skilled and intuitive some young actors can be,” said Matt. He always chats with young talent and gauges their ease, ability to be in the moment, and how they can relate to adults. “It can be a hard test for a child to connect with adults and not be overly precocious,” Matt shared. He finds that a child who can be natural and authentic will be most successful.

Over-coaching your child is the biggest mistake you can make. “It is hard to break some kids who are over-prepped and over-rehearsed,” says Matt. “It is helpful when kids come into rehearsal with their lines memorized but not OK when I see kids make gestures that their parents coached them to do.” Directors like Matt can readily spot young talent who come to an audition highly coached.

Caution to parents: Please don’t coach your child if you don’t know what you are doing. It won’t help them in the audition room or during a performance. (I’ve written about the dangers of over-coaching previously.)

Directors like Matt cast young talent with enthusiasm and a strong desire to act. They also want a child who can stay focused and in the moment as well as connect honestly with the character. Too much pushing for perfection by parents can stress a child and harm their enthusiasm and joy for acting.

As for newcomers, I asked Matt if a lack of experience would prevent a child from being cast. He replied, “Absolutely not. Everyone has to start somewhere.” If your child is inexperienced and cast in a role, directors will often cast a more experienced actor as a cover or understudy.

Many of us who work with children have also worked with “parents from hell,” well-meaning people who are pushy, demanding, or unrealistic about their child’s skills or fit for certain parts. It is a difficult situation for everyone. Be aware that creative teams evaluate parents during auditions as well as the youth. If you are difficult, you may very well cost your child the part he or she so desperately wants.

Instead, be open to conversations and working with directors to create the best possible experience for your child as well as the show. Parents need to accept direction too! If you can demonstrate a sense of humor, a flexible approach, and a willingness to take suggestions, you will be the kind of a parent directors love to work with.

Be aware that when your child or teen is cast in a production, it requires a commitment from the entire family. There are long hours of rehearsals, travel, and coordination with school and other activities. Your child may need to give up sports or time with friends to honor their commitment to the production. Parents who are good role models can help their young actor as well as their entire family cope with the challenges and changes that will occur during a show.

Your child has a dream of being in the spotlight and soaking in the applause after a successful performance. By using the tips mentioned above you can help make that dream come true.

10 Great Plays for Teen Monologues + Audition Material

When it comes to finding material for auditions and classwork for teens, it can be challenging, especially if you’re looking for something more contemporary. That said, there are works out there that lend themselves to this very thing. Below are some of my favorite plays for teens and young adults. I suggest you read all them in their entirety (as you should with all audition material!) to get a flavor for current trends and material you can use in your work. 

“Indian Summer” by Gregory S. Moss
A sweet teenage romance, this comedy-drama centers around two young men and one young woman dealing with sexual desire and class loyalty. For students unaccustomed to reading plays, the playwright’s style incorporates irregular punctuation and spelling to indicate intentional inflection and rhythm and the use of full capitals to emphasize words. The double slash lines indicate characters interrupting each other, reminding us of real people in everyday conversation. These textual notes are an excellent lesson for actors as they think of text as an improvisation with words—a beautiful way for actors to approach acting. 

“All American” by Julia Brownell
This play tells the story of a high school quarterback and the pressures she and her family face as they consider her future commitment to the sport. The writer’s credits include the popular TV series “Hung,” “Parenthood,” and “Smash.”

“Actually” by Anna Ziegler
This two-character play is a he said, she said story about date rape, addressing gender and race politics on a college campus. The play is filled with poignant and intelligent speeches for both young men and women.

“BFF: ‘best Friends Forever’ ” by Anna Ziegler
A coming-of-age story about two young women challenged by the onset of adulthood, this play follows the characters from 12-year-olds through their time as young adults. There are scenes for two females, male/female scenes, and one-minute cuttings for monologues for both genders. I like the realistic dialogue and honesty with which the playwright talks about love, loss, and resentment, all strong themes for actors to play.

“Girl” by Megan Mostyn-Brown
This is a terrific play about what it means to be a girl today.  The language is lovely, both honest and relatable. This play is unique because it features monologues that are both comedic and dramatic at the same time.

READ: 9 Elements of a Great Monologue

“School Girls; Or, The African Mean Girls Play” by Jocelyn Bioh
For those who missed the critically-acclaimed Off-Broadway run, this play is a must-read.  Set in an all-girls boarding school in Ghana, the play is a coming-of-age story of backbiting teens and bullying. It’s easy to read and relatable for younger actors since the plot is constructed like a television sitcom and reminiscent classic teen films like “Mean Girls” and “Heathers.”

“Really Really” by Paul Downs Colaizzo
This is a smart, humorous play about a group of four twenty-something college students the night after a wild campus party. With the MeToo movement so prevalent today, the themes of social class, entitlement, and peer pressure will surely resonate. There are some wonderful, sophisticated monologues for both young women and men as well. 

“String of Pearls” by Michele Lowe
This play features four actors who play 27 characters, exploring what happens when they come into contact with a strand of pearls. Over 35 years, the pearls tell a story of love and loss through different relationships. Although many of the characters are older, this play might be a good choice for a high school production given the number of female character possibilities. 

“Future Tense” by David Kranes
Full of dysfunctional family relationships, this play reminds us of what life is all about. I’ve seen students use monologue excerpts from this play that have had a strong impact. Mr. Kranes writes dialogue where characters are lost in thought and can’t finish sentences, reminding me of family members who drive me crazy but so real at the same time. 

“The Tall Girls” by Meg Miroshnik
This play features a strong ensemble of female characters, exploring issues of class and gender during the historic 1930s Dust Bowl. Unlike the other contemporary plays here, “The Tall Girls” is an old-fashioned play about hopes, dreams, and aspirations.

These plays all feature rich, current, red-hot topics and intelligent writing. The storylines and characters are age-appropriate and easy for teens to understand. They offer material that can create audition monologues that will get attention and win roles. Put them all on your 2019 reading list—you’ll enjoy them, learn a lot, and discover material that may well be perfect for your next audition.

What is the Proper etiquette for Auditions and Working?

Q: What is the proper etiquette when it comes to auditioning and working? What do my child and I need to be mindful of?

A: Here’s a great list of points to remember that will keep you prepared and looking professional:

AUDITIONS:

•  Ask your agent what clothing is appropriate.

• Don’t forget pictures, your resumé, and anything else you’ve been asked to bring.

• Check in with whomever you need to.

• Be mindful of other actors preparing for their auditions, but don’t socialize with them. Concentrate on you! (Without being rude of course.)

• For callbacks, don’t change your child’s clothes/appearance. Why tamper with what worked?

ON THE JOB

•  Know the rules and regulations regarding the employment of minors. You’re responsible for your child’s safety and welfare!

• Bring your child’s social security card, work permit, and identification number as well as any other required information or documentation.

• Sign the contract before your child begins work. Speak to your agent if you have any questions/concerns about it.

• Bring at least three hours of schoolwork if your child is being tutored on set.

IN GENERAL:

•  Be professional and courteous.

• If there is informational material available ahead of time, get it and be VERY familiar with it!

• Know exactly where you have to be well before the appointment date. It never hurts to check it out beforehand, including parking options, etc.

• Arrive at least 30 minutes early! You’ll be surprised to realize how much more relaxed you and your child will feel when you’re not rushing.

• Only you and your child should attend the audition. Don’t bring other children, relatives, pets, etc.

• Never leave your child unattended, but don’t get in the way of the set and its workers.

• Speak up if you are concerned about anything. You can always speak to an agent or the union under whose jurisdiction you’re working.

Ask Denise: How to Help Your Child Actor Memorize Lines Quickly

Q: My 10-year-old daughter just landed a role in a short film that begins filming in three weeks. What’s the best way to help her memorize her lines before then? —@dramamomma, Backstage Community Forums*

When it comes to memorizing lines, the way your child learns the words is just as important as the way she performs them. I’ve found that learning lines by rote is the best, most effective way.

This means rewriting the lines completely free of stage direction and punctuation; basically, as a long run-on sentence. This way, your daughter learns the words without meaning and without concern for how she will deliver them. Since punctuation and stage directions are the first things that lead an actor to a predetermined and intellectual way of performing, removing them allows her to solely memorize and then instill her own take on them.

In real life, people rarely talk with any notion of punctuation. It happens on its own as they’re speaking and is based on what’s happening at that moment. The same must be true in acting, and memorizing by rote will help your daughter give a more natural performance.

To start, read the scene very slowly with your daughter. Have her listen and respond, learning the words as best as she can. Then move on to line rehearsal, where she’ll spit the words out mechanically without any pauses. If she pauses or messes up, have her start again. In line rehearsal, there’s no acting; it’s just a great way to get stronger and stronger in knowing the words.

When It’s Not Fun Anymore

My students tell me they act because they love stepping into a character’s shoes and making an audience laugh or cry. Acting makes them happy, fills them up and provides fun. I’m so glad they are not doing it for the fame or fortune, both of which are fleeting and may never happen. It’s hard work to make it as an actor and requires dedication, persistence, and fortitude. However, if your son or daughter isn’t having fun while acting, it may be time to make some changes.

Many kids start acting as a fun and fulfilling hobby but then realize it’s a profession. Showbusiness is fraught with anxiety, rejection and financial concerns. It can place a lot of stress on youth and families.

I teach a serious but fun course of study; I design classes and workshops for the disciplined young actor committed to their craft. However, I make sure to keep the element of fun in the class work. If acting isn’t fun, why bother? Why would anyone want to face the rigorous demands of an acting profession if they’re not enjoying the process?

Casting directors and directors are looking for actors who are engaged and find the fun, passion, and aliveness in what they’re doing. Audiences want to fall in love with the actors. When a young actor is missing the passion, he won’t be able to connect with or delight the audience. So how do you know when it’s not fun anymore? Here are some of the signs to recognize if your child is burning out and may require some action:

• No desire to go to acting classes or workshops

• Turning down auditions

• Not memorizing lines or completing class assignments

• Exhaustion

• A high level of stress

• Little enthusiasm for anything related to acting

If your young actor is exhibiting any of these signs, it’s time for you to talk with them about how they feel about acting now. Ask if they’re having fun and want to continue or if they’d like to take a break and be a “regular kid” for a while.

It can be difficult for some parents to realize their young actor is burned out or ready to stop acting. You have invested time, money, and effort into their acting career, just as they have. However, loving parents realize that change is good for development and growth.

If your child isn’t having fun with acting any longer, celebrate together the good memories and skills gleaned from acting. Talk about the life lessons they learned and how those lessons can help them going forward. Support your child in taking a break from acting. Let her know she can decide to return when she’s ready or let it go to pursue another interest.

When the passion for acting is gone, it’s time to take a break. When you support your young actor in following their passion—whether it’s for acting or not—you are doing the very best possible parenting job, even if it’s not fun for you!

12 Steps to Success When Auditioning for Commercials

You’ve gone on so many commercial calls, but you are not booking the job. Take a look at my 12 simple commercial guideposts to see what may be missing so you can nail your next audition.

1. Energy. Pay attention to the sales clerk the next time you go to buy something. Would you rather make a purchase from someone who is enthusiastic or just “ho-hum” about their product? You want to make the sale in your audition, so turn it on!

2. Natural and Conversational. Read the copy as if you are talking to your best friend. Make sure you are sincere, honest, and believable. Now add energy and you’re two steps closer to landing the job.

3. Smile. This should go without saying, but smiling will take you a long way in this business. Allow your charisma and personality to shine through.

4. Color. Use your voice to paint a colorful picture. Use your adjectives to highlight what makes the product special.

5. Variety. Change it up. Find the highs and lows. Where can you be soft spoken? Louder? Secretive? Sexy? Get the idea?

6. Inflection. You can go up or down or stay the same. Pitching down can sometimes be a boring or negative choice. Try pitching up at your next audition to brighten your read.

7. Product Name. This is perhaps the most important thing you will say. Make sure it stands out and is clear and highlighted.

8. Warmth and Humor. The company may be hiring you to be the spokesperson for their product. Be likeable and genuine. Find a moment to bring some humor into your audition. Advertising sells to the consumer. What better way than with wit, charm, and a bit of fun.

9. Articulation. Diction, diction, and better diction. Practice with tongue twisters so you can warm up the muscle before you audition.

10. Turnaround. What is life like before the product is introduced and what is it like after? Be mindful of words such as "and," "because," "then," "but," "so," etc. This is where the change up occurs and can be demonstrated.

11. Focus. Where are you looking? Hopefully into the camera, if that is where you are directed. Memorize the first and last lines so you are looking up and are present. In the first line you reel them in and capture their attention. The last line is what you leave them with. Make an impression.

12. Have Fun. If you are not having fun, it may be time to go back to your day job!

The next time the commercials come on while you are watching your favorite TV show, don’t get up. Watch and see what tips from this list you can spot and how they make the message resonate for you.

What Child Actors Should Expect Over the Years

Turn on the TV or visit Broadway these days and you’ll see plenty of children. There’s always work for kids of all ages—but there are also always many out there trying to make a buck teaching classes in everything from modeling to acting. Be wary, smart, and knowledgeable. Here’s what you can expect your child’s acting career to look like at the different ages and stages of their youth.

Toddlers & Tiaras
Your baby is adorable, of course. You get stopped on the street asking if you have ever considered putting them in the business. If your little one is personable, separates easily from you, and you are willing to do the schlepping, go for it. As an infant, they won’t remember the rejection. You don’t have to spend money on classes or professional photos; snapshots work fine at this age as they are growing and changing daily. And classes for babies—seriously? I don’t like to turn down work but when asked to coach a – year-old I have to say no. Find a mommy and me class. At this age let them play.

Early Readers
Children ages 5 to 7 are just grasping the concept of reading, so encourage reading out loud to further this skill for your young actors—but make sure they’re exploring their imagination and having fun. An improv class or game-inspired acting class is the way to go at this age, while being careful of overcoaching. If your child likes to sing, encourage them. However most vocal coaches will not start training until the vocal chords start to develop at around age 8. If they are auditioning for musical theater at a younger age, it is wise to check in with a professional vocal coach and get their assessment. There are plenty of audition opportunities for adorable, charismatic kids this age—just make sure they are enjoying the process. 

Primetime Players
Agents and managers love when I recommend an actor ages 8 to 11. His voice is unchanged, he’s disciplined enough for long work hours, he’s reading, he’s not old enough to have developed acne, and he’s still the height of a child. There are a plethora of roles for kids this age in all mediums and agents are hungry to represent them, especially if they are not only cute but can act!

The Awkward Teen Years 
Braces, acne, budding breasts—your little girl is no longer a child. She is now a young woman and in the throes of adolescence. She may start doubting herself as she is separating from mom and dad lacking the confidence she once had. Now is a great time to take classes and master skills beyond her natural ability. Roles are no longer available in theater; she’s too tall to play a kid but not old enough to handle the maturity and skill some roles require. There is still plenty of work in commercials and TV and film. Get experience working in student films and start to build a demo reel. Real teens are needed—not adults playing teens—so be prepared when the opportunity strikes.

Not Quite an Adult 
At 16 or 17,your young man is now driving. He doesn’t need mom to take him to auditions anymore, but he still needs a tutor and there are working restrictions on set. There are plenty of 18-year-olds who can play yoiunger, and it won’t cost the production company money for tutoring. If your teen wants to further his acting career this a great time to study and prepare for college theater auditions, as getting into a good program is more competitive than ever.

Whatever age your child is, there will always be opportunities for work in show business. Just make sure the passion is coming from them, not you. You are their greatest advocate and with your support and a small nudge every now and then, you will have a very happy child.

Ask Denise: Should a Child Actor in New York Join Equity?

Q: I see that a play in the New York City area is auditioning “Equity actors.” My daughter is 11 and is new to the industry. As I understand it, Equity is essentially union and non-Equity is nonunion. Can she audition for an Equity show? I’m reading that one of the few ways to become Equity is to be hired into an Equity show.—@NoviceDad, Backstage Community Forum*

You are correct in thinking that Equity is union and non-Equity is nonunion. Typically, only actors who are in the Actors’ Equity Association union are invited to attend an Equity call.

However, because many young actors are not members of Equity, when it comes to auditions, nonunion actors may be seen at the end of the day if time allows. Of course, there’s no guarantee your daughter will get to audition, but many of my clients over the years have done so successfully.

In terms of your daughter joining Equity, there are a couple of options. She can join by virtue of employment under an Equity contract. Another way to join is if she has been a paid member of an affiliated union such as SAG-AFTRA, AGMA, or AGVA for one year and has worked as a principal or “under-five” (under five spoken lines), or has at least three days of extra work in that union’s jurisdiction. (Make sure to check Equity’s official website for clarification!)

The benefits of union membership include safeguards for child actors, such as parental or guardian supervision, education, safety, compensation, and limits on working hours. She will also get a pension and health care coverage, higher wages, discounts, and access to educational and business seminars.

That said, I don’t advise joining the union until it’s required. It’s a common myth that union membership is essential to getting representation and auditions, but children can usually be seen anyway. Don’t limit your child; once she joins the union, she’s ineligible for nonunion work and there is far more nonunion than union work available for young performers. Gaining experience will provide the necessary learning opportunities for growth.